Bill Knight column for 3-28, 29 or 30,
2019
Enshrined in both the Blues and the
Rock ‘n’ Roll Halls of Fame, blues harmonica player and bandleader Paul
Butterfield played 1970’s Kickapoo Creek Music Festival in Central Illinois,
1969’s Woodstock Music Festival, 1967’s Monterey Festival, and 1965’s Newport
Folk Festival.
Then, besides being a touchstone of
the explosive emergence of blues in a rock/pop period, Butterfield also pioneered
the modern racial integration of contemporary bands – and audiences.
Now, the 104-minute documentary
“Horn from the Heart: The Paul Butterfield Story” is scheduled for a free
screening at 7 p.m. Friday, April 5 at the University of Illinois/Springfield’s
Brookens Auditorium, about 60 miles from where Butterfield’s band played the
Kickapoo gathering.
A sensitive, sometimes surly working-class
guy from Chicago’s Hyde Park neighborhood on the city’s South Side, Butterfield
didn’t back away from controversy. In fact, at Newport – where Peter Yarrow of
Peter, Paul & Mary pleaded for their booking – he wasn’t bothered by the few
boos that greeted his electrified, amplified band backing headliner Bob Dylan.
The feature-length movie tracing
Butterfield’s life and career was produced and directed by award-winning filmmaker
John Anderson, whose work has ranged from music videos and concert films of
Brian Wilson and the Beach Boys to documentary journalism with Bill Kurtis. He
skillfully blends interviews with friends and family with performance clips
that offer a glimpse of Butterfield’s power and zeal.
Archival footage of Butterfield on
stage is occasionally slick and often raw, comparable at times to his riveting
“Mystery Train” from the Band’s “Last Waltz” live-concert video (and far better
than the Rockpalast video of his first show in Europe, in 1978). Interspersed comments
come from bandmates Elvin Bishop, Barry Goldberg, Sam Lay and David Sanborn,
plus Chicago harmonica artists Corky Siegel and Charlie Musselwhite, musicians
Bonnie Raitt and Al Kooper, producer Marshall Chess, and other recording
artists including Maria Muldaur and Todd Rundgren.
Each shares
a reverence, even awe, about Butterfield, who learned the blues and the harmonica
from talents at Chicago clubs like Muddy Waters and Little Walter, as well as
countless hours practicing by Lake Michigan. But the youngster created his own
style, one faithful to blues’ roots while also unconventional and innovative, a
sound his son Lee describes as “a revival meeting the authentic.”
Butterfield’s group was “the edge
of soul,” Siegel remarks, “the most powerful band I’ve ever heard,” and Chess
adds, “once you heard Paul, you got easily pulled into it.”
Formed in 1963, when Butterfield
lured drummer Lay and bassist Jerome Arnold from Howlin’ Wolf’s outfit, the
Paul Butterfield Blues Band featured the rhythm section of Lay and Arnold,
guitarists Bishop and Mike Bloomfield, and the keyboards of Mark Naftalin.
Adding a hard-rock energy to Chicago blues, they helped launch a global appreciation
of the blues to newer (whiter) audiences.
Also, integrated band were uncommon
then, though in hindsight Lay says, “We happened to be black and white.”
However, some venues were resistant. But with his abiding respect for the music
and an irreverent brashness for much, Butterfield famously – even ferociously –
stood up for what he believed in.
“We were an interracial band where
everybody was equal, but there were parts of the country that didn’t see it
that way,” remembers guitarist Buzz Feiten. “People would say something to us
and there were some near-confrontations with Butterfield because he would get
in their face.”
Butterfield explained to a black
band member, “Where you can’t go, we won’t
go.”
Such attitudes created shared
enthusiasm, even loyalty, by musicians (Bloomfield declined to tour with Dylan
to stay with Butterfield), and Butterfield’s groups produced an impressive
discography, from his seminal 1965 debut record through his “Better Days”
period in upstate New York and his 1980s career revival to extraordinary live
sets highlighted by “Fathers and Sons,” a double-LP featuring Butterfield
bandmate plus Muddy Waters, Otis Spann and other older bluesmen.
Suffering from peritonitis, a
chronic abdominal disorder, Butterfield also abused drugs and alcohol, and often
performed “like it was the last time,” it’s said. He stole the show at an April
1987 concert in Las Vegas alongside B.B. King, Albert King, Eric Clapton,
Stevie Ray Vaughn and others, and died a few weeks later at the age of 44.
In his life, Butterfield was “a
force of Nature,” says Sanborn, his sax player for five years. “It was my introduction
to the idea that it’s better to reach for something and miss it than just to
hold back and play it safe.”
A big-screen viewing is
recommended, and digital and home-video releases aren’t scheduled, so try not
to reach for this memorable movie.